Bill Marx

Theater Review: CSC’s “Love’s Labour’s Lost” — Plenty Likable

August 1, 2016
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There is much to like in this outdoor production of Love’s Labor’s Lost — the time passes by quickly and there are plenty of smiles along the way.

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Critical Commentary: Critical Injury at the “Boston Globe”

June 27, 2016
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The Globe tells us that we will be gaining compelling stories. What are we losing? Invitations to think seriously about artistic accomplishment and failure.

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Theater Interview: Bedlam Doubled — Director Eric Tucker on Twelfth Night/What You Will

June 17, 2016
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“What other play culminates in such a frenzy of emotion and joy and love all in a moment on stage?”

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Book Review: “Better Living Through Criticism” — Critical Self-Help

June 16, 2016
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A.O. Scott’s hurrah for criticism should be savored by anyone interested in how we articulate the value of the arts.

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The Fuse Turns Nine: Summer Appeal — Teaching Arts Criticism to a New Generation

June 9, 2016
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The Arts Fuse is developing a new initiative: the Arts Critic Mentorship Program and celebrates turning nine!

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Book Interview: Library of America’s “War No More” — Why Not Give Peace a Chance?

May 30, 2016
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Library of America’s anthology War No More explores a distinctively American tradition of antimilitarism.

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Stage Review: In The Body of the World — Our Bodies, Ourselves, Our Worlds

May 25, 2016
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This is a rich evening of theater because it takes up social and psychological problems that aren’t ordinarily addressed on our stages.

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Theater Review: “RoosevElvis” — Antic Americana

May 13, 2016
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RoosevElvis turns out to a sort of slaphappy homage to two American legends, a genial romp that sticks to stereotypes.

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Theater Review: Zeitgeist Stage’s “A Great Wilderness” — Revelations in the Woods

May 11, 2016
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A Great Wilderness dramatizes the plight of a believer who is forced to face a powerful truth about himself — that he has probably wasted his life.

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Theater Review: “Legally Blind: The Helen Keller Musical” — Burlesque, Visually Impaired

May 6, 2016
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Legally Blind contains sufficient satiric sting because it takes aim at the current fashion for musicals in which handicapped souls are healed.

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